Beyond its subject matter one of the reasons Scoop is genuinely compelling is Philip Martin’s direction. The pacing is brisk, but not rushed. And time and again, “The Crown” veteran smartly lets his actors play to their strengths.

Director Sarah Dowland doesn’t tackle “In the Clutch” in a manner that makes any sterling advances in the world of documentary filmmaking, choosing instead to play it safe and allow Bird’s journey to do the talking, but that in and of itself remains enough to more than power the film.

At this point, the Monsterverse needs the much simpler, dumb-fun, pleasurable joy of “Kong: Skull Island” because ‘New Empire,’ just ain’t cutting it beyond loud and senseless brawls that aren’t even a delight to watch.

Though Sadoff’s chilling documentary sometimes resembles less a film than a briefing (albeit one narrated by Peter Coyote), the warning here is dire; simplicity may be the best tactic to get the message across.

Transition works as both a personal accounting of Bryon’s journey and a fascinating exploration of how gender is treated within conservative societies. That the film can account for both, drawing out the parallels, schisms, and nuances that exist within a society that strongly believes in a gender binary, is something of a minor miracle.

To make it in show business, Carol Doda needed to show her business. These are almost exact words from the mouth of the woman herself, another example of her wit, appeal, and the type of trailblazer the world sadly lost before she got her proper due.

The frustration of watching Drew’s journey unfold makes for a unique viewing experience, and whatever it is he seeks in life, I hope he one day finds it.

While far from a poorly-made effort, Late Night with the Devil tries to take on too much and only slightly hovers above average in this regard.

The Greatest Hits is way worse than just a sophomore slump, more accurately, a long-the-works opus that should have just stayed in the vaults.

Though the structure of the vignettes can grow repetitive as the film moves along to a scene nearly identical to the one that came before, Terrestrial Verses never falters in challenging traditional notions while simultaneously providing a glimmer of hope.

Yes, the film is about a game show in the late-’90s that went to cruel levels in the name of entertainment, but The Contestant truly showcases the power of human resilience.

It’s all largely an ugly, vulgar, vacuous time that’s disposable and never as amusing as it clearly thinks it is.

There is a kernel of an idea in Cano and Craig’s screenplay that’s worth exploring. The movie feels like it could or should be great, but it took a wrong turn somewhere on that dark road.

The Idea of You is an example of the romance novel adaptation done right, an outstanding balance of chemistry and joke density that never talks down to its audience.

As undercooked as ‘Jacqueline’ can be, the movie oddly comes to life at the end with its themes of pointlessness and God laughing at your plans finally coming full circle.

As outlandish as Timestalker is, Lowe’s film holds its idea together well with style, wit, resourceful imagination, great lovelorn music, the sincerity behind heartbreak and deep yearning, and hilarious, sharp laughs to boot.

Desert Road is an admirably ambitious movie, but it just never lands and is too sparse and spare to work.

Civil War enflames our discomfort by bringing the conflict to our own backyard.

The Fall Guy is a wonderful movie about love and collaboration mashed up with an aggressively fine summer thriller.

If the results are more than a little preachy, it’s only because Patel cares so passionately about the issues he spotlights and the cinematic language of violence he uses to discuss them.

Copa 71 may be just another documentary, but in telling the story of the 1971 Women’s World Cup, it is absolutely a success.

The heroine of the film may not be in distress, but oh boy, is this movie in desperate need of saving.

For kids, the film is watchable because Black still finds ways to boost the movie with genuine charisma through his vocal talents alone (so much so you wonder why he isn’t working more in live action) and, for adults, something is reassuring in the glorious exasperation that accompanies everyone of Hoffman’s line readings. Still, it all feels a little too by the book.

Akin’s film draws connections to suggest that maybe through these crossings, we begin to understand each other.

It’s feel-good at its best, and in this day and age, is anything more even necessary?

First Time Female Director is a tremendous disappointment because Peretti is such a gifted performer; it’s understandable to go in pulling for her (this viewer certainly did), but those layers of goodwill just peel away as scene after scene simply does not work. Too much of what she’s assembled is just half-hearted cringe comedy—much of it without the comedy half of the equation.

With Another End, Messina unites one of the most gifted actors of the last two decades with one of the most gifted of the last two years to venture into one of the most fertile territories of any creative practice, the questioning of life and death, body and soul, presence and absence. It is almost unbelievable to see it result in an apathetic exercise of low-fi sci-fi that drags its way toward an eye-rollingly predictable twist.

There’s great craft, impressive creature design, a lugubrious, eventually-soaring score by Max Richter, an excellent Paul Dano nailing the childlike tenor of his inquisitive creature, and low-key Adam Sandler sitting in the pocket, enjoying the chill ease of never overdoing it.